Kasnorenesansni motet kao liturgijski, izvanliturgijski i paraliturgijski žanr na primjeru zbirke Sacrae modulationes (1600.) Gabriella Pulitija

Autor: Nikola Lovrinić
Jazyk: chorvatština
Rok vydání: 2010
Předmět:
Zdroj: Arti musices : hrvatski muzikološki zbornik
Volume 41
Issue 2
ISSN: 1848-9303
0587-5455
Popis: Nastojanje za kontekstualizacijom prve poznate i u cijelosti sačuvane zbirke četveroglasnih i peteroglasnih moteta Sacrae modulationes (1600.) talijanskog franjevca konventualca, skladatelja i instrumentalista, Gabriella Pulitija, iznjedrilo je niz pitanja vezanih uz problem definicije renesansnoga moteta, i rezultiralo kritičkim promišljanjem uobičajene interpretacije samoga termina i njegove povijesti. Polazeći od Tinctorisove definicije moteta kao "skladbe umjerenog trajanja, u kojoj su uglazbljene riječi bilo koje vrste, a najljepše one duhovne prirode", preko kritičkog osvrta na interpretaciju razvoja renesansnoga moteta kao niza "velikih" imena složenih kronološkim redom, sve do Praetoriusove sistematizacije termina, studija na konkretnom primjeru ukazuje na potrebu za preciznijom i potpunijom razradom metodologije i kriterija za valorizaciju opusa renesansnih majstora kao uporištima koja natkriljuju 16. i 17. stoljeće. Primjenom ustaljenih kriterija klasifikacije i analize, obogaćenih novim istraživanjima, Pulitijeva se zbirka stavlja u kontekst slogovne preobrazbe vokalne polifonije 16. stoljeća, od iscrpljenja i nestanka strogog kontrapunkta Nizozemaca, preko brige o odnosu glazbe i teksta, do novih stilskih preferencija, sve pod aurom "nestabilnosti glazbenika" i regionalnih odnosno lokalnih karakteristika. Zbirka je istovremeno poslužila i kao primjer koji pokazuje da je renesansni motet kao žanr karakterizirala sloboda glazbenoga stila, uporabe i funkcije, sloboda u izboru tekstova, ponekad marginalan značaj teksta u odnosu na liturgijske propise blagdana na koji se trebao izvoditi, ad libitum karakter izvedbe općenito, i uporaba sasvim različitih skladateljskih postupaka.
The study of the personage of Gabriello Puliti (ca. 1580-1644), an Italian Conventual Franciscan, composer and instrumentalist born in a city in Tuscany called Montepulciano, renders possible discussion about at least three interesting issues: the first being about his life, education and composing curriculum; the second refers to his monastic life, the history of chapels and monasteries he was active in; while the third tries to cope with the problems related to the liturgy of his time, the implementation of that liturgy in music and, at the same time, the analysis of his opus. This paper deals with the last aspect with particular reference to his collection of four-part and five-part motets entitled Sacrae modulationes published in Parma in 1600, and with analysis in a contextual setting of the motet production of the specified period, as well as discussion about the issue of defining the motet as a genre. Namely, the effort to contextualise this first known and fully preserved Puliti collection has brought to the surface a series of questions related to the definition of the Renaissance motet and has resulted in critical evaluation of the usual interpretation of the term and its history. Starting from Tinctoris’ definition of the motet as a "composition of moderate length containing words of any kind (mostly religious in nature) set to music", on to critical reference to the interpretation of the development of the Renaissance motet as a series of "great names" related to "musical focal points" arranged in a cause-effect relationship, and finally, to Praetorius’ systematization of the term, the study, following a particular example, indicates a need for a more precise and thorough elaboration of the methodology and criteria for valorisation of the Renaissance masters’ opus as footholds that spread through the 16th and 17th century. Applying the usual criteria for classification and analysis enriched by new scientific insights with particular reference to textual paradigms, composing techniques and composition construction, Puliti’s collection Sacrae modulationes is set into the context of a stylistic transformation of the vocal polyphony of the 16th century, from the exhaustion and disappearance of the strict Dutch counterpoint, to care for the relationship between text and music, to new stylistic preferences, all in the aura of the "musicians’ instability" and regional or local characteristics. In addition to this, the collection has served, at the same time, as an example that points out that the Renaissance motet as a genre was distinguished by a freedom of musical style, use and function, freedom in text choice, sometimes a marginal significance of the text relative to the liturgical regulations of the church holiday for which it was supposed to be performed, the ad libitum character of the performance in general and the use of completely different composing methods. On that basis, a broadly conceived conclusion follows that Puliti’s motets from 1600 vacillate between various factions within the North Italian composing circle - from Rome, across Florence and Milan towards Venice - displaying very direct influences, as well as those elusive ones deriving from the complex relationships between the musical individuals Puliti encountered and his music experiences as a young composer on the way to forming his individual style.
Databáze: OpenAIRE
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